You'll Hear It: Full Album Deep Dives with Jazz Musicians - 7 GAS Standards That Still Slay

Episode Date: December 2, 2024

Peter and Adam both name their 7 favorite GAS standards from best to worst. What's your favorite GAS standard?Link to our bespoke Spotify playlist.https://open.spotify.com/playlist/2g0agwmyxmyLTXEYKSpfwC?si=sNBsRlrsSyuAR1x8FNy85gLooking to drop a question? Want to listen to the audio pod? Look no furtherhttps://youllhearit.com/Have a question for us? Leave us a SpeakPipeCheckout courses from Adam, Peter and more at Open Studio🎹 Head over to our YouTube channel for a better look 👀.Follow us on Instagram

I'm Adam Manus. I'm Adam Anus. And I'm Peter Martin, and you're listening to the You'll Hearin podcast. That's what happens when you trade, buddy. I'm Adam Manus. And I'm Adam Manus. We're all Adamanus. And Caleb's Adam Manus.

That's what happens. See, we're talking about this is an audio first podcast. We don't let that big screen jar us at all. Don't we, though. Oh, that was interesting. It was a gas. That was a gas. What are we talking about today?

Today we're talking about the gas, Peter. Yeah. We've already talked about the jazz standard. This is the great American songbook standards. Do you know what that means? I could tell by your eyes. Yeah, we've got the jazz standards and we've got the gas standards. That's kind of it.

That's kind of it. Well, I understand it, but I'm still not 100% on. I'm like on board adjacent at this point. Because my thing is like, to me, if you say, what's the greatest standard of all time? I still have foot hanging out of the airplane. Yeah, I do. I mean, Lush Life. Sue me.

I love Lush Life by Billy Sterhan. I feel like that's a gas. standard. It's a gas and it's a standard. That is a jazz standard. Jazz standard. Got it. Yeah. Gas standard means that it was written primarily for either Tin Pan Alley or Broadway show. So did that.

Or even a movie soundtrack or movie musical. Yeah. Musical. Movie musical. Right. What about a high school musical? Or written for the movie High School musical. I think that's a perfectly good example of a great American songbook standard.

Yeah. Now, these were written by people like Jerome Kern, Rogers at Heart, Radgerson Hammerstein, perhaps. Jules Stein, George Gershwin. Carol King. Well, no.

Stevie Wonder? No, okay, sorry. I'm still confused. Yeah, exactly. You know what I mean? This is like, these are like show tunes that jazz musicians

in the mid-20th century made even more popular in some cases. And I think really... So Lionel Richie from Endless Love. He still doesn't get it. He still doesn't get it.

He still doesn't get it. That's a movie. We're talking about things like all the things you are. Like, I remember you. Like, Embraceable You. Yeah. Yeah, oh, now he gets it, right?

So these are those A-A-B-A-style structured, 32-B-A-Tunes, not all of them are 32-bars. You get the idea. It's that sort of like classic... Standards. American standard. Got it. But that's where we're going to start from.

We're going to start with what's new. So we've got seven each, right? So we're going to kind of move through these. Oh, that's right. We're going to count down from seven. Peter's going to do his first, then he'll... His number seven, then I'll do my number seven, then his number six, then my number six. And full disclosure.

so on and so forth, we will be sending a telex down to DeBosier and DeVosier on this full disclosure. I did not know that the counting down was going to be a thing. I thought it was just pick seven. Your message to me via text message, you sent me in SMS when I was in Mexico. And it said, come up with seven of your favorite gas standards. And I said, what the hell is the gas? I thought it was this like an octane, a minimum octane rating? The more I hear it here in this episode, the more I think we should never ever say this ever again. So I just minoring out in any particular order. Well, what's new kicks it off, which is a great way to start.

It's great tune. This is a great version, too. This period of intros. Yeah. For McCoy Tyner. Like, very lush but busy and interesting. Just quoting the melody here. And he plays the, goes to major.

Is that kosher? I love it. It's a little bit of a... I have a little confusion about this. I thought that the A sections ended in minor. Maybe they did originally. And that's part of the adaptation we're going to see on a lot of these things. The jazz positions will mess with the chord changes for sure.

This is such a great reading of this. That's great. Elvin just swinging out, you know, very simply. Jimmy Garrison, Two-field kind of, two-feel walking ballad and enabling train and just very, he's doing some nice interpretations, but he's just playing very simply, especially for Tram. Some nice little embellishments.

This is from John Coltrane's ballads album, McCoy Tyner, Jimmy Hurston, Elvin Jones, great pick there. Yeah, and I think just for each of this, we could talk about, like, kind of what makes these standards so interesting, not just in the hands of a master like John Coltrane. Oh, yeah. But for us to play.

They're so well written. The melodies are all exquisite. Just like... Is that modal interchange? It is modal interchange. It is, okay. I didn't know if that was... C major to A-flat major.

That could be a part of C minor, that A-flat. It could be like the 60-3. of C minor and that's just like secondary 25 heading to it. But it's got a nice little like difference because you've got that you know, when it goes on to the C minor. Definitely playing around with the minor

to major to minor. And then of course the bridge is great. It's like let's run it back, a fourth up kind of thing. It's a great tune. It's a great tune. It's a great tune. Lyrics are killer on it. With all these, the lyrics, the melodies.

Bob Haggard, I believe. Bob Haggart. Lyrics by Johnny Burke. Really, really well done. Yeah. Start here and here. Yep. Yeah.

Nothing wrong. Nothing wrong. We got Alone Together. This is from Benny Golson. Whitney Kelly on piano, PC, and Jimmy Cobb. This is 1932, written in 1932. Arthur Schwartz and Howard Dietz. Yes.

That's our former accountants on the way. Schwartz and Deats. They were excellent. I met them at the West County Mall. And Oaks. This is kind of another major to minor play around. Oh, wait, fun facts. Big time.

Isn't this an ABA form? It is AABC. Oh. Yeah, this is a really interesting one. Yeah. There's the major and then right to minor. It starts in D minor. Yeah.

And just a little turn around back in D minor. and then to the four-core G minor. Yeah. And then you have these like, and I wonder what the original changes. Yeah, that's what I was, yeah. Like a two-five as if it's going to A, B-minor 7, E-7, and then a two-five,

the F-major, the relative major. And then a two-five, as if it's going to D minor, but the sun comes out. The bridge is the same bridge that Dizzy Gillespie used in a night in Tunisia. Yes. Tunisia.

And then the last section starts like the A section, but it's shorter. short 10. Yeah, it's only A-Bos. Something like that, probably. Right.

It's so much fun to play over this one. Yeah, and I think the changes by themselves are fun and it goes some interesting places. Like that thing, whenever you have these older standards that go somewhere, and it might have been to D major or something, but kind of adapted

to that 251 that doesn't go anywhere. Like B minor to E7, But then it goes somewhere real like, what? But then you're like, oh, that's actually the 251 of the major, you know, the relative major. I mean, the tune's in D minor, but it feels like it's going to be an F major at that point. So it's like, that's great stuff to play. I always think about those kind of harmonic movements,

progressions as being built in interest for your lines. Like when you know, normally we have to work to kind of play something interesting or put in an alteration. when you've got B minor 70, E7, G minor 70, and C, like, all you have to do is Biddi-d-d-d-d-d-d-d-lap-d-d-d-d-lap. Like, just play something that's one continuous line, making the adjustment harmonically right as it changes later on, you can shift it, you know, play over the bar line or whatever. Like, that's going to be pretty interesting in terms of, like, the harmonic implications

that puts on your melodic improvisation. That's what makes it so special is you can really mess with that, with the form and everything. All right, next up. Okay, so I'm calling an easy one here. Little Pete Cosm Classic. Newsflash. Auditleaves is a great American songbook standard. Of course, this way of playing the tune,

you know, really sort of exemplified and really laid out by this particular Miles Davis-Cunton, and the one before it for sure. We talked to Ron Carter, Tony Williams. Yeah, we talked to the Meister, Ron Carter. I mean, he made that whole book out of versions of autumn leaves that have been recorded because when he was in Miles' band and they were touring, Miles would start, they would like, literally get off a plane, walk on a stage, and Miles would start Autumn Leaves. Yeah.

As a warm. And then it was like a lot of times their first time touching the instruments. This was at the Antiches Festival, the Juan in a Penn. Great festival. Leaves there in the Coutardastula in France. Yeah. This tune is interesting. So bottom leaves is the English language version of the French song.

The Dead Leaves. It's like, it's not Pete Cosma. I believe that's a hockey player. It's Joseph. It's a Pete Cosmo. And yeah, a little French tune with English lyrics by Johnny Mercer. And, I mean, it is a jazz standard now for a good reason. And this is like, this is the most standard standard we've done yet.

This is like one of your first tunes you'll learn. I've got to know this one. The form is so great because it's, It takes you through a major 251, and then a minor, 251 in the relative minor. So in the key, B flat, C minor, F7, B flat major, to the four chord. And then a minor-25 to the relative minor, G minor. A minor-7-5 diminished, D-7 and G-1. And the bridge.

And then it kind of like stretches out a little on the bridge harmonically. Almost does it backwards, right? The minor. Now we're going to the relative major. And back to 251, 251 to the four. It's kind of like just... So it's like... So much fun.

Yeah, and it's just like... It's sort of a... Maybe we could consider it like a harmonically ergonomic tune. Totally. Especially for the piano. But obviously for every instrument. I know it as from the piano. But I think too for like bass players

in terms of like all these interesting fourth movements, even when it's moving chromatically, it's like fourth base, which of course on the bass is nice because of the way that it's strung out. But it just... really feels good to play. The more you're able to like internalize this form, the better you can play over it. So like, I understand Miles and them just like playing it over and over again because it was like this. It's like stretching a canvas if you're a great paint. Like there's certain sizes you like and certain feel on the canvas.

And then it's like, give me something to play on this. This is a very of, it's potentially a super open type of a form. More so than it seems like. It seems very square in a way with the melody, especially if you hear the original version and stuff. But it really can be stretched out nicely. Jared stretched out for like 28 minutes. Yeah. You too. Next up is Frank Lessors, If I Were a Bell.

This is Gerald Clayton. I love this tune. It's so much fun to play. This intro is great. Because a lot of people skip over the intro, and it's a great part of the tune. This is from Gerald Clayton's Bond the Paris Sessions album.

It just shows you how malleable these old songs are. If I Were a Bell was written in... It was written for guys and dolls. That was the success. around on Brow. 1950. To it, obviously.

But even the harmony, he's playing around with him, but it's hitting the landmarks. It is, yeah. And then when he leaves it, it's like some really interesting places. Like having a, like an interesting

sort of ostinata that you can come back to, it's just a little bit off kilter. It's such an effective. The great Joe Clayton, Firewabelle, amazing version.

Peter, next up, we've got our first appearance by the Gershwin. Oh. You want to talk about Maldiol. Here's a very first up. version where we don't even really hear the melody. Hello, George and Ira.

This is Embraceable You. It's Charlie Parker. But just playing the season of the changes. It was Wes. begs the question. So I think this is this one of mine? Yeah. So it's like...

Put a pin in begs the question. Okay. Yeah. Is the greatness of this tune, can it be the harmonic foundation of it? Is that what... I mean, the melody is wonderful. The lyrics are wonderful. But Charlie Parker kind of pulls off.

Maybe he identified in this tune. the chord changes, the actual harmonic progression, is enough that makes it a jazz standard. And I would say, yeah, because it's, this one hasn't been changed as much. I mean, some people do change it, but like the way the bird is playing it. Like, I think they stay there and then,

it's like, they sneak up, like, that's such an iconic way. Because otherwise, it's just kind of like, you're meandering around, but it's do do, do, do, do it do. So even if you're like, Like, do you already know it's embraceable you just from that? I think you do, so, you know.

Not to say that it's not interesting, more interesting, perhaps, with the melody, if you're not Charlie Parker. But I do think it still is like its own thing, just the chord changes, you know, which a lot of these aren't like that, I wouldn't say, but some of them are. So good. I'm begging you a question. Okay.

So I used Beggs the question in a short a couple weeks ago and got some comments from people, I did not know this? Did you know that the way that you just used it and the way that I used it in the short is not the correct, quote-unquote,

way that is... I did not, and I appreciate you letting me wax poetic on it many times before you informed me. I didn't know either, man. You could kick me under the table or something. However, we are right, and I'm going to come back around for that. We are right?

Well, that begs the question, are we right? that's closer to so when you say begs the question what we're talking about is it raises the question like it prompts like oh is this right in classical rhetoric and logic rhetoric and logic begging the question or assuming the conclusion um is an informal fallacy that occurs when an argument's premise assumes the truth of the conclusion so like people have known for thousands of years the earth is round therefore the earth is round right that's begging the question is the earth round with you already have the conclusion in the statement. So it's actually like a like a informal logic concept that people use as like raise the question, which isn't

like raise the bar. Yeah, like I've had, I had this people in the comments were like, that's not what that means you're wrong. However, to those people, I will say, that's not how language works. Because when you just said, that begs the question, every single person who heard you say that knew exactly what you meant. That you were like raising the question, right? No, Nobody was like, oh, is you talking about the philosophical, logical argument? No one's thinking that. Everybody's thinking of it in the context of how we use language today, where it begs the question means like, raises the question and they're interchangeable.

That's how language works. Language evolves. So many phrases that we used did not start out meaning what they mean. Right. Begues the question is now one. Like if I say, I'll give you another example that. If I say that new album that I heard today sucks, the album doesn't actually suck on something. It means it's not good.

Right. I'm not, that begs the question, should we be using that term? I will defer on that. But I love the fact that, like, you're even considering the precision of, I mean, of all the things that we mess up, even with musical language on this podcast, the fact that we're going to nail, expect to nail the nuances of begs the question versus raises the question. I know. I'm impressed. It's my favorite. Yeah.

I will remind you, number 10, counting down to number one, too. Okay. Good call. My number 10. I remember you. this is what we came in on. This is a song written by a Victor, shirt singer, lyrics by Johnny Mercer, again.

Man, that dude could write a lyric. Yeah, he really did. He was like the Chet GPT of the 30s, 40s and 50s. And this is like the Chet GPD of the version of the song. You like that? Chet Holmgren of the trumpet. Chet Baker could really sing, man. Chet Baker sings.

You should have called it. Chip Baker can really see. I remember you. You're the one who made my dreams come true. So much fun. And again, how many bolts are stolen that kind of do. So this is stretching out. This is A flat.

So this was in 1941. And this is something that I've heard Herbie Hancock talk about, that, you know, people used to use this seven dominant a lot more. And that's what's happening here, although jazz musicians, we can't have just the dominant. We've got to add the two, right? We got to add the two to the situation, which is what a lot of people do. It's what we did in key of F. Yeah.

And that's what makes it so fun, though, is because... Chet adds that too, right? Yeah. He has the five as well, yeah. The two. But adding that sort of like key of A out of nowhere, which is what an E7 implies, right? It's really, really, really fun.

It is. Really, really fun. And actually, for the piano, we always talk about, like, how does stuff feel and sound. So, like, the key, he's doing an A-flat. Right, is that even more of a woo than... It kind of feels like it is. And then... So then...

Into the four chord. How many of these bridges are going on the four chord? But there's one way. That's another one that's nice. It's just like... It's not as like wooed, but it's like you're going... That's built into the tune. And then to the three...

It's another A, A, B, C. Yeah. Great tune. Great version here, the Chet Baker. I remember you. That's from, I don't even know an album that was from,

let's get lost, the best of Chet Baker. I'm sure it was on an earlier recording. Okay, so this next tune, I know when we did a dress rehearsal of this episode, you were a little bit like, I don't know this tune.

It's by Jimmy McHugh and Harold Adamson. Harold Adamson. Yeah, I wanted to put at least a couple lesser known, but I think they're just great standards that are every bit as quality as a summertime

or an autumn leaves or something, but for whatever reason, They aren't played all the time. This is one that I actually learned from Christian McBride. I remember when he's like, do you know where are you? I was like, no. And he sang it to me. And then like sat at the piano and showed it to me.

And I was like, man, this is just a cool tune. It's a fun tune. And this is a recent recording, Joshua Redmond and Gabrielle Cavasa, who had just got a chance to see the other day who were touring through here with an interesting reading on this tune. Oh, this is, yeah, this is on a couple of really famous albums, too. I do know this tune. It's on Go, Dexter Gordon.

It's on the bridge from Sonny Rollins. It's the title track on a Sinatra album from 1957. I know this tune. I just don't know it. I've never played it. Yeah, we're just going to listen a little bit. Two. I spelled me the two.

Yeah, so the cool thing about this tune, we won't go into a whole thing of it, but like, I always think, like, great standards, there's always, like, one thing that's like, oh, that's cool. Yeah. Like, and I think for, like, that's for Embraceable You, and then, dude, people. A lot of times they're right at the beginning, right?

Yeah. So this one, like the other, let's know. So instead of going, it's like the reverse leading tone. And then this next part, I think, is cool. Do do, do. Do. Yeah, beautiful. So the first time it's regular minor, 2-501.

The second time it's, do do do it goes to a dominant two to five and I think that's from the original too that wasn't a jazz musician thing it's just one of those things that kind of links up with it

again so you're like it does two two fives in a row yeah and there's like a diminish yeah and then two dominant something that Gershwin uses

on but not for me as well is that is that that two minor the original but not for me. I'm going to do it in some people because there was a real book version of But Not For Me

they start off on the two chord every time but actually it starts on the one. Right, and then the second time it goes to it. Yeah, then it does them. Which is very effective. It's very effective and we're going to hear that next actually. That's right. In the effective hands of the Amal Jamal Trial ever heard of him. Live on Perci.

One, swing music to turn them. Two, five. Then two dominant. Super effective. This is Amad Jamal Life of Pershing. as if you didn't know. Right. This is another one where like the melody's great,

but the chord changes, like the kind of economy of the chord changes and enables you use stuff like this. And just that one simple thing of like, maybe starts on the 16, 25, then two to five, then to the four, of course. This is like the original Jay Dilla right there.

He's like behind Lowe. Sounds great. Yeah, thank you. He's out of tune. I'm into, he's out of tune. That is Amon of a trio, but not for me. At the Perjee.

but not for me. Lock chords much? Ooh, it's so good. Next up. I just want to do this all day. I want to do this all day. Adam, Manus. From one Gershwin to the next,

Herbie Hancock, summertime. Oh. I love this version. This is from Gershwin's world. Does it get any gassier than this? Does it get any gassier? You can't say that.

You'd have to have a... You'd have to stop. You'd have to stop. You'd have to stop. Summer time Oh yeah, wait, who is? Joni E. Mitchell. Oh, that's right.

Joan E. Mitchell. Joan E. Mitchell. Schwann. Fish that jump in the car. Talk about malleable melody and harmony. Your daddy's rich and your mama's good luck. Little baby. Without like this interesting kind of

arranged subcords. you've got the basics of this song are very long it's in the minor but then the relative major is the resolution point with a minor

but then this becomes dominant and then the two is that a four or is that a two you know now it's the four yeah there's a lot of little because it's going back to the mine the two next time

one six to five and back to that playing from the major to the writer Kirby Hancock from Gershman's world I think that's Stevie Wonder too we've got Stevie Wonder yeah Yeah, Wayne Choir, Stevie Wonder, Joni Mitchell. I mean, you know, it's okay.

If you're in the All-Stars playing gas. Next up, we've got one of the best-sounding Village Vanguard records ever. This is Brad Melrose. Question before you play that. If you were to pull up in California, Los Angeles area, maybe Orange County, perhaps, to a gas station, and Herbie Hancock, Stevie Wonder, and Joni Mitchell were to roll up ready to pump gas for you. Would it sound that beautiful?

Okay, moving on. Anyway, Brad Meldow, all the things you are at a gas station? Get it? Gas? Great American song. Yeah. Yeah. Good one. It's funny, right? Well, dude, Adam Madness, we're in the studio two hours later than we usually are... Whoa! I'm so sorry. I'm so sorry, you guys. No, he didn't. I'm so sorry. They would sound great at the gas station.

You guys enjoyed? You got to see the sun rise today? We're getting to see it set as well. I know the days are shorter, but they don't feel like it. This is the art of the trio, volume four, back of the village Vanguard. The Art of the podcast featuring Adam Maness. Oh, sorry. This is all the things you are. Jerome Kern, one of the all-time greats. Yeah.

Want to hear a band tune up? Turn it up a little bit. Oh, they're tuning up. All right, this is Vanguard, right? Fluent's your trajectory as a jazz musician by any chance? You and thousands of other little Adam Manus around the world. Anybody born between 1977 and 1927 and 19th? 19,

90 years. But it's like you, we have jazz musicians over the years that give us license in different ways of what's possible over these tunes.

That's what makes the jazz that we, they might have been attended this way, but like he opened up a whole other doorway for jazz pianists to play on.

It's all the things you are, right? It's one of those sounds that, it's like the Beatles in a way that it's like, just take for granted because so many people play like this now.

Yeah. There weren't a lot of people playing like this in 1997 when this came out. It just weren't. And I know people say, well, like, oh, Keith Jarrett, not quite. That's not quite the same. Just because you can hear influences from somebody doesn't mean that that's, you know. It's his articulation and his time feel that are so now been ripped off by so many people. His articulation and time were very distinct for that time.

Right, for sure. And then there's the whole harmonic thing, too. That's the first place. Like, you're hearing the harmon. the melodies in introducing. Jorge Rossi and Larry Grenadier on the bass. Credible trio. All the things you are.

Jerome Kern, by the way, this tune as well, not just this version, but the tune is an all-timer. I still love playing this tune. I've played it a thousand times. I'll play it a thousand more. I really enjoy it. It's so well-crafted. Talk about a well-crafted song.

And there's some details in this that get overlooked a little bit. So we've done some deep dives on the original version. So a lot of people will play on the first time, which is not it. Yeah. Goes up to that B. And then the second time, same thing, but down a perfect fourth. I guess a little melody movement. The chord going back in the original version is not a C-7.

It's an A-flat augmented triad. But we've never seen a chord that we didn't want to turn into the five of where we're going. But isn't that a beautiful way to get voice leading wise? Right. Do this. But wouldn't you rather do this? Or you're an E major. Yeah.

So the, it's so nice. That's what makes that root movement. And the melody stays on that G sharp A flat. So you have like, there's a whole bunch of, like if you look at triadically, right? So you have an E major triad. Yeah. It's the last chord of the bridge. And then just the B moves up to C.

Right. A flat augmented. But now the E moves up to F. Excellent voice leading. Incredible voice leading. Yeah. Just amazing. And then at the end.

And then the original, I believe it's like. it's like um it actually goes down from e flat to d relatively something like a flat over e flat yeah it's not it's not what we play as jazz is that that makes sense and then a lot of people do the melody no no sir melodies actually a couple of different things there's two different versions so there's because it's from a show yeah oh who could the first male version does that only up to the d flat The female version. Right.

And then there's the castrada version. Yeah, exactly. So it's a really fascinating tune, and I just love it, man. I think it's so good. Nice. Next up is your number two, the nearness of you.

It's weird. Joshua Rudman, Braddnell now. This was just coincidental that I used them again, but I was, you know, it's a good one. You like those. This is a great ballad. See you.

Hogi Carmichael, of course, I was looking up lyrics by Ned Washington. Great lyrics. inspired by the material that's to come. Like you can just play these tunes, but you can also take little parts of them without these like little Legos that you can take out and then improvise and they're inspirational, I think.

Because if you don't feel that way about it, is it really a gas? You know what I mean? It's not a gas. It's not a gas. It's the worst. Gas is the worst. Gas is the worst.

And the way they're approaching it now, so Josh just left the Diotic major for the first time you went down to that, but it's all within that major scale, right? So anytime you shift out of that is an opportunity for like, whoa. Kobe knew his way around a melody. Yeah.

It's the nudist of you. Hogi Car Michael wrote the tune. Yeah. Beautiful. And then even there, it sounds like it's going somewhere. It's like I think it's officially diminished, right? Major. Yeah.

But a lot of people, and this is another sort of jazz, I just, da-do-do-de-boo-be-de-boo-be to the four-modd-d-do. And then, of course, the last time, stretches it out. Let me ask you a question. I'm Brad Miller. I'm back in the late 90s. How do you feel about, can I ask you question?

Yes. How do you feel about Bronislav Kaper? Well, I, yes, a big fan. I should have this next tune of me. Invitation by Kaper Webster. Keper. Bronslaw Leper. Ronslaw.

Kaper wrote the tune there. Francis Webster. Right. Also with the lyrics to Shadow of your story. This is a more like adventurous, like built-in sort of jazz melody.

I in fact have never heard the lyrics to this. No, I don't know what the lyrics are because I've only played it like this. Like Roy Hargrove here is. That'd be a hard one to sing.

Those, those doo-doo-oo-wee. It's from his album, Nothing serious. We are going to make to this playlist. We have this playlist of our seven gas standards

that still slay. Not unlike our 10 holiday classics that don't slay. They don't, they're different sleigh. Different slays up. Slays up. All right.

And this one again goes through all of these places. It takes us through this journey, right? Yeah, and it's, you know, it's ostensibly in C minor. Well, yeah. But it ends in Eflat minor as opposed to like, you would expect maybe it would end in the relative major, but it's like the relative major, relative minor, you know?

Because the whole tune is, what would you say? It's in C mine. It'd be so hard to sing. That's what I'm saying. It's in C minor. I mean, those. In the E flat?

Wait, is this in... Key of C minor. C. Or A, B, A. Yeah, because that was the bridge that we just played. Is it an E flat? That's what I'm saying. It ends in E flat minor.

And then it jumps back down. What key is an invitation? Drop it in the comments. Because it starts on C minor or E flat. You know, if you think about it, though, that C minor, this is going to a B flat 7. Right. It could be just like a 2-5 to the 5.

Well, it hits, I mean, like that, whatever, that fifth bar or ninth bar. Is that the tonic? That's a good question. Bratislav. Can we get Bratislav on the more? Bratislav. It's a great name.

All right, Peter, your number one. I feel good about, oh, I feel better about your number. I love both these tunes. You're number one gas. You laughed at this last time. You're like, really? That's your number one? This is killing, though.

It's kind of rando, isn't it? No, it's not. It's a little rando. This is cool. This is Jules Stein. Jules Stein is legend. Your Peterson is true. Yeah, sorry.

Asper Peterson playing. Jules Stein wrote it too. We're out of tune from the recordings. All of the Luees. This one like Lends on. I will refer you to Shirley Horn's beautiful version of this. Hey. A little ice cream change is to take you out?

Jules Stein's ridiculous credits. Right? You have the Christmas Waltz. Don't rain on my parade. Diamonds are a girl's best friend. Oh, gentlemen prefer blondes. Everything's coming up roses. I'll hang my tears out to dry.

I don't want to walk without you. I fall in love. It's you or no one. Great tune, just in time. Nice. Let it snow, let it snow, let it snow. Make someone happy. People from Funny Girl.

People are the funniest people. Time after time. Three coins in the fountain. This is an incredible list. Super talent. Julius Kirwin Stein. Well, we are all the way up to your number one. Bratislav!

He's back in the house. My number one is Bronslav K. Per. Lyrics by Ned Washington, Cape Washington. Again, I know the lyrics. But I prefer the instrumental. Like, then Washington, he's good. But Bratislav's the man.

Bill Evans Trio with Philly Joe Jones and Paul Chambers. From on early Bill. The only Bill could play blackhors. Doesn't get much better. So that's it, Peter. 10 to 1. What's New? Alone Together. Autumn leaves, if I were a bell, embraceable to you.

I remember you. Where are you? But not for me. Summertime. All the things you are, the nearness of you, invitation just in time, and on read, the street. Now, are we saying that everybody should know all of these guests? Absolutely. Yeah, it kind of goes. There's a couple you need to learn here. And there's one I need to learn.